Thursday, December 27, 2012
After meeting at a party, Daniella (Blanca Lewin, Eternal Blood) and Bruno (Gonzalo Valenzuela) go to a cheap motel for a little after-party fun. They don't know the other's name yet, but the sex is great. Their post-coital musings reveal more than their names, however. The stranger next to them affords each the freedom to open up and discuss their wildest philosophies and deepest fears. Between bouts of love-making and more discussion, they become more personal, and soon they breach the wall of anonymity. When their darkest secrets come out, they threaten the euphoria and emotional safety for the possibility of something more.
What you first need to understand before watching Jess Franco's Paula-Paula is that it's not a normal movie. There's not script, there's a beginning and ending, but something else in between. It's actually what the title say it is, an audiovisual experience that could belong in an art gallery. I've seen stuff like this at the Museum of Modern Art in Stockholm, but this might be a little bit more sleazy...
It begins with the arrest of a young woman, Paula, who claims she's been working at a sex club since she was five, first with her dad, and later together with another woman named Paula - and now she killed her. The police, played by a butch Lina Romay, is skeptical about it, and seem to almost let her go. No one cares about her, another crazy woman... There's a cut to the interaction between Paula and Paula, in something that seem to be the first Paula's apartment. They dance, there's long psychedelic mirror-effects, slow-motion and an amazing jazz score by Friedrich Gulda (given to Franco by the children of Gulda, the composer himself is dead) and slowly it leads to the expected ending...
Anna is not so very young any more, but still a voluptuous woman and full of desire. Unlike her husband, who prefers to watch television instead of making love to his wife. Diets and aerobics fail to revive his sexual interest, and Anna turns to a fortune-teller for help. Unfortunately, the love potions also have dissatisfying side-effects and surprising results. Finally, a proper solution is found in some magic sweets: each sweet will make Anna seven years younger. Which might be rather tricky for a compulsive eater …
It has a few hardcore inserts.
After her boyfriend leaves her alone and penniless, Inga can only long for the love of another man devoted to satisfying her body and soul. Rolf, a young pop singer and musician, tries his best to seduce her, but she ultimately falls for Stig - a dashing older man and writer. Stig owns a beautiful villa, and Inga gladly becomes his personal secretary - and lover. When business takes Stig away, Inga's loneliness and unfulfilled sensual desires lead her straight into the arms and bed of Rolf. Inga's life is further complicated by the arrival of the young and beautiful Greta Tillstrom (Inger Sundh) who admits to an on-going affair with Stig and professes a blossoming attraction for Inga herself. As passions surge and forbidden lust is embraced, Inga will be forced to confront a shocking secret and reconcile an aching heart with a tireless young body that can't say no.
The misadventures of three women in the same apartment block. After being disappointed with a boyfriend who wants her to whip him and having a lesbian fling with a schoolfriend, Joelle (Maryline Guillaume) finally manages to lose her viriginity with her teacher, Hector, but they are dicovered by her father and she is kicked out of their apartment.
Martine (Carole Gire) is dissatisfied with her husband and seeks pleasure elsewhere, for example with her friend (Dolores Manta and her husband). Martine's husband finally leaves her.
Wednesday, December 26, 2012
Plot Synopsis [AMG]
Like his WR: Mysteries of the Organism, Dusan Makavejev's controversial 1974 feature Sweet Movie is firmly rooted in the principles of psychoanalyst Wilhelm Reich. In cinematic terms, this means bombarding the audience with an onset of imagery so visceral, disgusting and repellent that it "awakens" the viewer in a Brechtian manner by "short-circuiting" the audience's reactions. Sweet Movie interweaves two narratives. One begins with a trip to the "Miss World Virginity Contest," whose winner, Miss Monde 1984 (Carole Laure) is auctioned off to Mr. Kapital (Animal House's John Vernon), a Texas oil billionaire with an odd perversion. Instead of deflowering her on her wedding night, he sterilizes the terrified girl's body with rubbing alcohol and showers her in urine with his massive gold-plated penis, while an audience watches bemusedly through his bedroom window. She later escapes from her bridegroom, in a suitcase, and winds up at a wild Viennese commune whose participants indulge in public defecation and a food orgy that wraps with a massive display of gurgling, yakking, and vomiting. At the tale's conclusion, Miss Monde shoots a television commercial that involves writhing in a giant vat of chocolate, with which she is completely drenched from head to toe, as the cameras roll. The second story involves a woman, Anna Planeta (Anna Prucnal) piloting a candy-filled boat down a river, with a massive papier-mache head of Lenin on the prow and a lover in-tow who is a refugee from the Battleship Potemkin.
Teresa è sensuale e procace e, rimasta vedova, scopre di essere proprietaria di un tir e di molti debiti verso Nabucco. Questi cerca di approfittare del fatto per costringerla a sposarlo. Teresa non cede e decide di ripagare Nabucco utilizzando il tir con l'aiuto di Gino, esperto camionista. Tra i due nasce un amore burrascoso e per di più le cose con il tir non vanno troppo bene. A complicare la situazione ci si mettono anche un capomafia e un barone tedesco. Alla fine Teresa accetta di sposare Nabucco, ma sull' altare... Written by Baldinotto da Pistoia
With periodic flashbacks and fantasy sequences, Exposed, in terms of its narrative structure at least, is a bit more complicated than your average sexploitation picture. While on the surface Lena is a typical, if flawed, central character the film lets us get into her head enough that even if we don't completely see her as an innocent, we can at least feel for her. Her plight with Helge and his blackmailing ways is a sticky situation to be sure and while his coercion into the world of kinky sex allows for many titillating sequences, you can't help but feel sorry for Lena. That said, she uses her sexuality to put herself in rather precarious situations and at times you almost wonder if she subconsciously wants the dysfunction that seems to follow her around. Consider this alongside the way that she's treated by most of the men in the film, whose eyes linger on her quite voraciously, and you're left trying to figure out how much of her dire situation she's put herself in, rather than found herself in.
Two emotionally distraught lovers find life is too much for them and enter an insane asylum. He is beaten and watches as she is raped. An attending physician fondles and kisses her during an examination in front of an X ray machine. The poor girl is driven to suicide, and the man learns too late of the psychological and physical assaults that led to her death in this tragic drama. This feature was invited to appear at the Venice Film Festival in 1970.
Christina Lindberg's film debut as a 17 year old girl that is forced to prostitute herself, while her father waits on drinks for the customers.
The hairdresser Assar Gustafsson's wife Sally turns up in the pair's country cottages. She has been disappeared in five years. Sally has been prostituted and now she put her 17 year old daughter Bella in work. The public swimming-pool on the pier becomes a drive in brothel for male summer visitors. Assar fails with his protests and he plans to kill Sally and he shoot Bella's boyfriend in cold blod. Then the revenge beginns.The film's manuscripts is made by the director Jan Halldoff, the producer Bengt Forslund and the author Lars's Forssell, member of the Swedish Academy.
Peyton and Barney are fun loving high school students working on a science project with white mice. When one of the mice begins to move food toward itself with out touching it, Barney finds he has accidently discovered a formula for telekinetic powers. Now, how much trouble can a high school boy who can move things with just his mind get into? Written by John Vogel
Renouncing her "sinful" past, Emanuelle (Laura Gemser) has entered a convent and has dedicated herself to a life of service. Enter Monika (Monica Zanch)i, the free-spirited, free-loving daughter of a wealthy Baron. Emanuelle is charged with keeping Monika in line, but when the young girl's wild ways bring back memories of her own sensual past, Emanuelle begins questioning her own religious and sexual identity. Advances from an escaped killer who is hiding in the convent serve to complicate matters further.
Journalist Emanuelle travels to the Orient to interview a close relative of a King, but comes too close to uncovering official secrets for the state's liking. Her hotel room is ransacked and her passport stolen, leaving her stranded and at the mercy of a brutal gang of rapists, employed by the government. Her only hope of escape are her powers of seduction.
A nerd gains the friendship of two of his frat brothers when his dad offers them his condo for the week in Palm Springs, and also offers the fraternity a hot tub and jacuzzi if they can help his son find a girl. They meet two guys from a rival fraternity, and make a bet on who can nail the Designated Babe first. Written by Ed Sutton
Well, it's not big and it's not clever - but Sex with a Smile is great fun, and rather funny in places; plus it features performances from five of Italy's hottest ladies, so what's not to like? The stories in the film apparently focus on Italian humour, but to me it seemed pretty universal and I think that even people who don't know anything about Italian humour will find this funny. The film features five separate stories, all involving sex and all ending with a funny and ironic little twist. The stories are all around twenty minutes long, and most of them will raise a smile from the audience. The stories mostly seem to focus on a hot woman bewitching a weak willed man, but when the women in question are Barbara Bouchet, Dayle Haddon, Giovanna Ralli, Edwige Fenech and Sydne Rome - it's not hard to see things from the male point of view! The film is perhaps not quite as sexy as it thinks it is or wants to be, but there's no shortage of hot women lolling around in next to nothing and director Sergio Martino manages a lot of nice visuals, which are sure to keep the audience happy.
If you have a screw seriously loose and for some reason have watched a lot of 1970's Italian sex comedies, you know that they basically fall into two categories: On one hand, there are the goofy, low-brow ones that make the old "Benny Hill Show" look all dry wit and erudition in comparison. Then there are the ones like this one that seem more arty and sophisticated, but are also often bizarre and pretentious and not necessarily all that funny.
Comédie en noir et blanc, France (1928) avec Joséphine Baker, musique : Neil Brand. Durée 7 min 30
Cette comédie, tournée en noir et blanc à Paris au printemps 1927, était destinée à promouvoir la revue "Un Vent de Folie" menée par Joséphine Baker en 1927-1928 aux Folies Bergère. Joséphine Baker y fait une courte apparition, elle danse en petite tenue sur le quai du métropolitain à la station Pont-Marie.
A rare silent comedy that features Josephine Baker’s first appearance on film.
After a lengthy period of watching the dancers at the Folies Bergères, a fireman stops in for a drink. As he becomes intoxicated, his thoughts return to the dancers, and he begins to see images of nude dancers all around him. Whether he goes into the subway, rides on a streetcar, or returns to the fire station, he continues to see the same imaginary sights.
Description: "When his wife Silvia (Polish model Katarina Vasilissa) leaves him, Dodo (Francesco Casale), a professor of French literature, finds himself alienated from those around him; becoming a passive viewer of life lead to the fullest by those around him including his bedridden father (Brass regular Franco Branciaroli) who has a scantily-clad nurse to attend to him. Dodo's agonizing over his wife's contempt for him and the identify of the mysterious lover who has usurped him is countered with lighter vignettes (mostly lighter, though one moment has one of Brass' starlets showing her infibulation scars which feels exploitative though we must commend the actress for not feeling ashamed considering how psychologically and physically damaging this cultural practice can be) in which Dodo winds up the voyeur instead of a participant which insure a positive reaction from Dodo to his wife's faithlessness in the Brass tradition.
Kate and Sam are a loving couple who want desperately to get rich, but when Kate blows their savings by buying a race horse named Honeysuckle Rose who never wins, it puts a mean strain on their marriage. They begin to fight and eventually seek solace in the arms of others in a series of torrid extra-marital affairs. Later, Honeysuckle Rose unexpectedly starts to win and their fortunes change. Now they're rolling in dough and can debauch together as a couple. Samantha Strong and John Holmes star as the wayward couple, and the legendary Mr. Holmes is, as always, a spectacle to watch while in action, if not while acting.
Director Eduardo Cemano is one of the visionaries of adult film. A former commercial artist he segued into pornographic features in 1971, just as New York City (and 42nd Street) were about to be flooded by a wave of “one-day wonders”, cheap sex films from the West Coast shot in a day, edited together and distributed to makeshift cinemas and sex shops. Cemano was fascinated by the possibilities of including explicit sexual imagery into a narrative feature – or, more specifically, introducing plot and character into an explicit sex film – and when approached by nudist-movie legend Doris Wishman to make some original one-day wonders in New York to compete with the material sent over from California, Cemano eagerly directed two of the first porno feature films to emerge from New York: Millie’s Homecoming (aka Lady Zazu’s Daughter) and The Weirdos and the Oddballs (aka Zora Knows Best). From improvised screwball comedy shot for $1000 in one day to luxuriant, thematically complex adult drama, Cemano’s films played to enthusiastic audiences throughout New York, making him the most inventive, dynamic and complex adult filmmaker on the East Coast during the early 1970s. Working with some of the finest talents in the industry, Cemano swore only one thing: in his pornography, there would be no suggestion of rape, force, coercion or the demeaning objectification of women. To him, pornography was a visionary new genre, free from moral restraint and offering women a true and empowering liberation from Patriarchal constraint!
On a small, cozy Swedish islet a group of friends gather for a celebration. One of the participants finds an old magic viking instrument (Hornlike) which will yield everybody in earsight extremly horny. This film contains the wellknown falu-sausage scene, where one of the participants uses a extremely large sausage as a dildo. Written by Christian Lundquist
Hardcore remake of Abbott and Costello Meet Frankenstein; it changes from black and white to color for the sex scenes. When their car breaks down while they are on vacation, two women (Nicole London and Leena) are stranded at a castle with the classic monsters - Count Alucard (Mike Horner), his vampire wives (Madison and Brittany O'Connell), the Wolfman (Tony Tedeschi) and Franstenstein's creation (Jon Dough). This includes Randy Spears as an inept Steve van Helsing and Nicole London also dressed as the Bride of Frankenstein.
A man awakes from his sleep to discover that he's in ancient Greece. He witnesses a scantily-clad woman whom he woos, then kills with a club. A group of lesbians find the man, tie him to a tree, then partake in an incredible deed. An astonishing sex-and-sadism excursion from Michael and Roberta Findlay (authors of "Snuff", "Satan's bed" and "Take me naked"). Psychodelic, surreal atmoshpere and lots of sleaze make it worth your saturday time.
Definitly not Mulot's best, but still watchable
3 September 1999 | by Pierre-Alexandre Buisson (email@example.com) (Montreal, Quebec, Canada)
This movie is interesting in more than one aspect; Mulot's camera work and storyline are still personnal and, I must say, very interesting... This time around we follow the adventures of a lovable creature who poses in "erotic" mags. She is stalked by some kind of maniac killing people around her.